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Journal Article
Journal of Music Theory (2000) 44 (2): 451–485.
Published: 01 October 2000
Journal Article
Journal of Music Theory (2015) 59 (2): 235–271.
Published: 01 October 2015
... of Morley's balletts reveals four primary “Englishing” techniques. First, Morley establishes and confirms tonic more thoroughly than the Italians do. Second, the dominant chord plays a larger role in Morley's balletts, often yielding predictive statement-response phrase structures. Third, Morley uses pre...
Journal Article
Journal of Music Theory (2016) 60 (2): 149–180.
Published: 01 October 2016
...Drew Nobile In this article, I advocate for a syntactical definition of harmonic function in rock music such that function is acquired not by a chord's scale-degree content but by its role in the context of a song's form. In rock songs, the syntactical role of dominant, for example, is often played...
Journal Article
Journal of Music Theory (2015) 59 (1): 99–119.
Published: 01 April 2015
... (1636–37), emphasizes delivery ( pronuntiatio or actio ) rather than style ( elocutio ) as the basis for comparing the two disciplines. As such, it offers a notable contrast to the more familiar analogies put forth by the German theorists who have tended to dominate our perspective. At the heart...
Journal Article
Journal of Music Theory (2006) 50 (2): 253–275.
Published: 01 October 2006
... of the 5-6 cycle are separately considered. The 5-phase trajectories are classified as diatonic, idiosyncratic, or obstinate. Despite its long history and current dominance, the mode of analysis based on Roman numerals and tonicizations is eschewed for sequential progressions. Instead, the connective role...
Journal Article
Journal of Music Theory (2007) 51 (1): 5–49.
Published: 01 April 2007
...) are nothing but derivative forms of the stack-of-thirds dominant seventh chord (dominante-tonique; Example 14a). The functional roles of the chordal components are clearly distributed: G is the root (basse fondamentale), the third B is the leading tone (notte...
Journal Article
Journal of Music Theory (2016) 60 (1): 1–21.
Published: 01 April 2016
... prolongations, being at once dissonant and tonal. The article ends by considering three tonal works by Brahms, Debussy, and Schoenberg that, though tonal and not com- pletely dissonant, contain extended dissonant prolongations. Keywords  dissonant prolongation, Schenker’s view of dominant prolongation...
Journal Article
Journal of Music Theory (2001) 45 (1): 119–143.
Published: 01 April 2001
.... is understood to be subsumed within the larger dominant prolongation that extends from the second theme in the exposition, m. 14 ff., through the development section, and across to the dominant of m. 57. Specifi- cally, Schenker interprets the subdominant as a composed-out seventh of that prolonged dominant...
Journal Article
Journal of Music Theory (2000) 44 (1): 100–126.
Published: 01 April 2000
... by the third or leading tone of the upper dominant. [10] The cadence C-F-C-G-C unites both of these cadences, the sat- isfying one at the end; however, the second appearance of the tonic is entirely different from the third for the reason seen above. Just how little entitlement that tonic has...
Journal Article
Journal of Music Theory (2017) 61 (1): 111–140.
Published: 01 April 2017
... their tones in a row of alternating major and minor thirds.2 Triplets of tones form triads, and Hauptmann indicates the relations among the tonic, dominant, and subdominant triads. Uppercase pitches are related by just perfect fifths, while lowercase pitches...
Journal Article
Journal of Music Theory (2005) 49 (2): 301–332.
Published: 01 October 2005
...). Bebop harmony of the 1940s and 1950s is built on relatively simple elaborations of functional progressions mostly within a tonic-dominant framework.5 Even so, the differences between bebop harmony and Shorter’s harmony are to some extent only a matter of degree, with Shorter greatly developing...
Journal Article
Journal of Music Theory (2009) 53 (2): 191–226.
Published: 01 October 2009
... if Mozart’s slurring does not concur fully with this reading, the resulting harmonic rhythm generates a credible underlying hemiola con- sisting of tonic and dominant harmonies alternating in multiples of two beats. This hemiola does...
Journal Article
Journal of Music Theory (1999) 43 (1): 101–133.
Published: 01 April 1999
... harmonization of the descending scale, in which 7ˆ-6ˆ-5ˆ is set as 3ˆ-2ˆ-1ˆ in the key of the dominant, has especially important formal consequences. Neumeyer’s third objection is that (according to Schenker) the octave line is not subject to harmonic interruption, but only to melodic division at scale step...
Journal Article
Journal of Music Theory (2001) 45 (1): 144–150.
Published: 01 April 2001
... fundamental structure, and the sole re- quirements of development and recapitulation sections are those that serve this structural division: the impulse toward closure is interrupted following the arrival or prolongation of and dominant harmony; a recommencement of that motion ensues, this time carrying...
Journal Article
Journal of Music Theory (2003) 47 (2): 305–323.
Published: 01 October 2003
... of Richards’s complex combina- tions of ornaments at cadence points in André Campra’s grands motets— such as those due to voice crossings and ornamented doublings—and drew attention to another type of dissonance resulting from “concurrent use of second inversion tonic harmony in the orchestra and dominant...
Journal Article
Journal of Music Theory (1999) 43 (2): 257–281.
Published: 01 October 1999
... of these “dark” and “bright” chords reflects the juxtaposition of “night” and “day” in the title. In replacing ≤VI-V-I with ≤VI-I, Chick Corea may have followed the path of European composers in their attempt to replace the dominant- tonic axis with a plagal axis, as described by Deborah Stein in her dis...
Journal Article
Journal of Music Theory (2001) 45 (2): 483–487.
Published: 01 October 2001
... are then harmonized with con- trapuntal chords. The dominant is introduced as a structural chord, capa- ble of serving as the goal of a progression, but still requiring resolution to tonic. “Intermediate” (pre-dominant) harmonies connect structural tonic to structural dominant: II, IV, VI and III. In the examples...
Journal Article
Journal of Music Theory (2006) 50 (2): 181–210.
Published: 01 October 2006
..., in the Schenkerian context, a perspective applied in this study, a II≥ followed by a V suggests that the latter harmony is the primary element of the two—a pre- dominant harmony is usually subordinate to the dominant. But occasionally one may abandon, for specific reasons...
Journal Article
Journal of Music Theory (2015) 59 (1): 63–97.
Published: 01 April 2015
... of a “normal,” single- centered tonal system by two. Zavlunov (2010, 439) suggests viewing mutabil- ity as a tonal structure that relies on four centers: two primary (the relative tonics) and two secondary (their dominants).29 Example 1 is my schematic...
Journal Article
Journal of Music Theory (2010) 54 (2): 235–282.
Published: 01 October 2010
...-measure phrases. After the first phrase, based upon the tonic, the second phrase is its displacement (Versetzung) on the dominant.1 The third phrase announces itself as one more displacement of the phrase, bringing it back to the tonic, but is cut off after only four measures by the sharp...